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From the Manessian Codex
TROUBADOURS
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ROUBADOUR
ONGS
Compiled and Arranged by
CLARENCE DICKINSON
With an Historical Introduction, Biographical Notes, and English texts
by
HELEN A. DICKINSON
NEW YORK: THE H. W. GRAY CO.
Sole Agents for NOVELLO & CO., LTD.
Copyright, 1920
BY
THE II. W. GRAY CO.
V.
^^
TABLE OF CONTENTS
PAGE
I. All Thoughts Within My Heart That Dwell — Anonymous ... 5
II. Lo! Now I Bid Farewell to Ventadorn — Bernard de Ventadour (1145-1195) . 7
III. Mercy I Cry Who All Bewildered Stand — Chdtelain de Coucy (1157-1192) . g
IV. It Was in May — ^Moniot d'Arras (c. 1200) . . . . . . .11
V. Robin Loves Me — Adam de la Hale (c. 1285) ....... 13
VI. Now My Lightsome Ycjth Is Gone— Clement Marot (1495-1544) ... 14
PAGE
I
ILLUSTRATIONS
Troubadours . . . . . . . . . Colored Frontispiece
Initial Letter A, with Troubadour, from Ancient Manuscript
"A Troubadour Sings for the Queen of France": XIV Century Tapestry . 6
Bernard de Ventadour (Tail-piece) ......... 7
Chateau Coucy ............. 8
Arras with Troubadour and Lady, XIII Century ...... 10
Facsimile of Original Manuscript of Song "Robin Loves Me," with Illuminated
Letter .............. 12
Tailpieces: Troubadours and Instruments
historical Sntrobuction
CCORDING to historians of literature the period of the poetic and musical
activity of the Troubadours opened with the closing years of the eleventh
century; but it really had its foundations in the much earlier, kindred art
of the wandering minstrel, from time immemorial so popular a figure in
the South of France. An old chronicler explains the early ascendancy of
the South in the arts of music and poetr^^ with the ancient tradition that when he
apportioned his great realm Charlemagne gave Provence to the musicians, poets, and
minstrels; at any rate, it was the case that not one of its many small courts was con-
sidered complete without its poet or minstrel. With the Crusades and the dawning
of the age of chivalry and romance in both social and religious life kings and princes
and other members of the high nobility devoted themselves to the making of "verse"
and music, and developed the largely intuitive practice of the minstrel into an art.
These were the Troubadours, and their name, derived from the Provencal verb trobar {tro-
bairc), to find, and supposed to have been adopted as a new word in the language during the
Crusades, influenced in its formation by the Arabic, implies the original invention of both his poe-
try and his music by each poet-musician. When the fashion spread to the North, they were given
there the name Trouveres, from the French verb trouvcr, to find. For every new song, therefore,
a new verse form and a new musical fomi must be created if the singer were to prove himself
worthy of the name.
His instrimient of accompaniment was the vielle — the ancestor of the violin — or the mandorla,
a lute or small harp. If he could not play it sufficiently well himself he took with him on his
many journeys from court to court and castle to castle one who could play, and, if necessary, sing
for him, known as the Jongleur.
From the great period of poetic activity of the Troubadours of Provence there remain to us
about two thousand five hundred poems. The musical manuscripts are much fewer in number,
amounting only to about two hundred and fifty-nine. These consist of melodies only, written on
anywhere from two to eight lines drawn in red ink; there is no division into measures. It is al-
together likely that much of the music was simply delivered orally and was not written down;
indeed space was left for it in some of the beautifully illuminated manuscripts, which was never
filled in.
That the eariiest Troubadour music, as that of No. II in this book, by Bernard of Ventadour,
bears some slight traces of the influence of the Gregorian music of the Church is not to be wondered
1
at, as all Troubadours of high rank — and several who were of lowly birth — were educated in the
monastic schools, for the Church had a inonopoly of learning in those days. In most cases the
earliest Troubadours took the types of melody used by the minstrels and composed them into an
art fonn which was, naturally, not altogether unafifected by the music of the Church.
The earliest Troubadour whose poems have come down to us was Guillaimie (Guilhelm) VII,
Count of Poitiers, afterwards the ninth Duke of Acquitaine, who, the chronicler records, "knew
well trobar e cantar" — "to invent and to sing" — ; unfortunately none of his music except a frag-
ment of one melody has been preserved. The name "Troubadour" had been in use before his day,
however, for an injunction had been issued against the introduction of their "infamous and
diabolical love songs" into the musical service of the Church; and during the lifetime of this very
Guillaume a poet at the Court of Frederick Barbarossa was complaining of the decline of the art.
Nevertheless, the great period of Troubadour poetry and music dawned with Count Guil-
laume, whose gifts, together with his high rank, gave the Troubadour his distinctive place m
art and society. He led along a path followed by other members of the nobility, among
whom the most exalted was Richard Coeur de Lion, King of England.
From the South the art spread to the north of France when Eleanor of Acquitaine, grand-
daughter of this Duke Guillaume, married the King of France, and her far-famed and devoted
Troubadour, Bernard de Ventadour, graced her northern court with his art, and inspired many to
follow his. example in the making of poetry and music, so that the Trouveres of the North came to
rival the Troubadours of Provence in number and importance. And later, when this same
Eleanor became Queen of England, as the wife of King Henry II, the art sprang up there through
her encouragement and the example of the poets at her court, among them, still, Bernard of
Ventadour.
The theme of the Troubadour's song was, first of all, love, but love of the most exalted kind,
love of an ideal. As a secondary theme there sometimes figured any one of the various hindrances
to love, as, especially, the false friend, the slanderer, who appears in No. Ill, "Mercy I Cry," by
the Chatelain de Coucy. But the songs are, for the most part, in praise of a lady heavenly fair and
flawless, to whom the poet pledges undying fealty. Sometimes he rejoices in the contemplation
of her beauty and the opportunity for actual service with its rare and unspeakably cherished re-
ward of a kind look or a smile; again life is embittered because of her indifference to his devotion.
Many poems picture his desolation in being separated from her for long years; in some cases she
is a Princesse Lointaine whom he has never beheld with his eyes but of whom he sings none the
less passionately. Such an one was the beloved of the great Troubadour Jaufre Rudel. "He
was a very noble man, and Prince of Blaye, and he fell in love with the Countess of Tripoli, whom
he had never seen, but because of the praise that he had heard of her by the pilgrims who came
from Antioch; and he made many songs about her, with remarkable melodies but less beautiful
verses. At last, for the sake of seeing her, he took the Cross and set out to sea. And on the
voyage a grievous illness fell upon him so that those who were on the ship with him thought he was
dead; but they brought him to Tripoli and carried him to an inn, thinking him dead. And it was
made known to the Countess, and she came to him, and took him in her arms, and he knew she
was the Countess and recovered consciousness, and praised God and thanked Him for having let
him live to see her. And so he died in his lady's arms."
One Troubadour only, of them all, did not sing of love — Marcabru of Gascony, who pre-
sented that utter anomaly, a Troubadour-woman-hater; he wrote only Sirventes, that is to say,
political poems describing feats of arms, or addressed to great men to whom he ofifered the homage
of his verse.
But of all other Troubadours love was the principal theme. As the lady of the singer's
devotion was inatchless, his songs addressed to her were, in the poet's estimation, incomparably
beautiful. It was, therefore, no undue self-esteem which moved Bernard de Ventadour to begin
one of his songs thus: "Marvel not that I sing better than any other!" It was only his lady's
due that this should be so.
So exalted was the object of the Troubadour's adoration and so worshipful the spirit of his
poetic tribute, that these secular love songs could be, and very commonly were, converted into
sacred songs by the change of a mere word or two of the text ; in many poems all that was necessary
was to substitute the Virgin or the Church for the adored lady. This characteristic persisted
even in the poetry of the Mastersingers in the sixteenth centuiy ; Hans Sachs changed just a few
words in his "Awake My Heart's Beloved" and converted it into a sacred song for the "Witten-
berg Nightingale," as he called Martin Luther.
But although love was the principal theme of the Troubadour, he did not write of it exclu-
sively. Besides the love song there was the Sirventes, which was written out of loyalty to a great
prince or military leader, or which might be a song of the Crusades. For this the author departed
from the first rule of his troubadourhood, and adopted a form of verse already in use in some well-
known song, of which he bon-owed the melody also. A subdivision of the Sirventes was the Planh,
a funeral dirge, or plaint. To the same family belonged also the Tenso, a poem in the form of a
debate on questions of gallantry', love, politics, or morals.
Then there were less personal songs, narrative or dramatic in character, as the Alba (L'Aube),
a Song of the Dawn; the Toile, or Chanson d'Histoire, which told a story; the Romance, which was
almost the same as the Toilc but gayer in tone; it required also that the author should claim in his
story to repeat only what he himself had actually seen or heard; the Pastourelle and Music of the
Dance.
The Age of the Troubadours closed with Guiraut Riquier, of Toulouse, the period of whose
life extended from 1254 to 1292, and of whose works there are preserved twenty-four poems and
six epistles which in their didactic character reveal unmistakably the decadence of the art. The
Albigensian Wars destroyed the independence of the South of France and so impoverished the
ruling houses and the nobility in general that they were unable to continue their generous
patronage of the arts. Most deeply interested in the course of the struggle and in the defense of
the right of the Albigenses to religious liberty was the renowned Troubadour Bertran de Born,
of whom one of his contemporaries wrote, "He is a good knight, a good warrior, a good wooer, and
a good troubadour." He wrote many love songs, but liked almost better still to write songs which
stirred to strife, for "above all things he delighted in the pomp and glory of war." Dante beheld
in him a sower of discord, who had set the sons of Henry H against their father and involved France
in war; therefore he pictured him in the Infernal Regions {Inferno, Canto xxxviii) carrying his
severed head in his hand, and speaking thus, "In severe punishment for having parted persons
who should have been joined I caiTy my brain, alas! parted from its beginning which is in my
body."
But although with the long period of war and the consequent suffering and impoverishment
the cult of the Troubadours ceased, its spirit never died out of French poetry. It was, indeed, the
source of the lyric poetry of France, and poems with music, wholly in the Troubadour vein and
manner, were written by spiritual successors of the Troubadours even in the sixteenth century,
among them such an one as No. VI, "Now My Lightsome Youth is Gone" by the courtier-poet-
musician, Clement Marot.
piograpfjical j^otes;
No. I. "ALL THOUGHTS WITHIN MY HEART THAT DWELL"
Anonymous.
This Chant d' Amour is by a singer whose name is unknown; that he was of late date is
evident by comparison with the very early Troubadour song immediately following. It is one
of the songs which b}- the mere change of a word or t-wo of the text, or even by the use of an
occasional capital letter, could be interpreted as a sacred song.
^s*™i:.
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A Troubadour Sings for the Queen of France
From a XIV Century Tapestry
No. II. "LO! NOW I BID FAREWELL TO VENTADORN"
Bernard de Ventadour.
One of the greatest of all the Troubadours, Bernard de Ventadour — or Ventadorn — began
life under the patronage of Viscount Ebles II of Ventadorn, himself a Troubadour. Of Bernard
the old chronicler wrote, "He is a fair man and skilful, and he knows well how to compose and
sing, and he is courteous and well-taught." He quitted Ventadorn, as this song tells us, because
of the indifference of the adored one, whose coldness drove him from his home. How great a grief
this must have been we can feel when we read his lines on Ventadorn: "No country in all the
world is so beautiful as France, no province so gracious as Acquitaine, no village so charming as
Ventadorn, no street so lovely as its street, and dearest of all the little alley that leads to my home."
The "scornful lady" was probably the object of the poet's youthful devotion. Marguerite of
Turennes, wife of Viscount Ebles III. He presently attached himself to the Court of Eleanor of
Acquitaine, daughter of the First Troubadour, Guillaume, Dul<e of Acquitaine and Count of
Poitou. Eleanor became the wife of Henry of Anjou, Dul<:e of Normand}-, who ascended the
throne of England in 1 154. Bernard apparenth- accompanied him there, as in one of his poems he
sings: "This song is quite complete that no word is lacking, beyond the land of Normandy, across
the wild deep sea. And I am far from my lady. ... If the Enghsh King and Norman Duke
wills it I shall see her before the winter overtakes us." At another time he writes as if he greatly
enjoyed his English sojourn, "For the King's sake I am English and Norman, and were it not for
her who charms me I should stay till after Christmas."
" Lo! Now I Bid Farewell to A^entadom" is atypical song of the early Troubadours musically;
very many others could be cited which are quite similar to it in its character of semi-recitative with
frequent and more or less elaborate ornamentation. The greatest masters of the art, among
whom was Bernard, are distinguished above the rest by their triumph over the prosaic and their
achievement of rhythmic freshness and chann , and of what might be called linear beauty. In the
interpretation of all their songs the rhythm should be felt ; the phrases should not be too square-
cut, the curve of the melody should be preserved. The singer is permitted unbounded liberty in
declamation of the text and expression of the sentiment; in the original manuscript there is no
division into measures, and they have been indicated here only for the sake of greater ease in
reading.
Bcruard de Ventadour.
Chateau Coucy
No. III. "MERCY I CRY WHO ALL BEWILDERED STAND"
Chatelain de Coucy.
The Chatelain de Coucy took his name from Chateau Coucy, in our day one of the most
picturesque ruins and most beautiful remains of a mediaeval castle in all Europe, which has now
been utterly destroyed by the Germans. The thirteenth century rcii:av "The Lady of Fayel"
presents him as one of the most distinguished poets and courtiers of the age. An ancient tale
has persisted that the husband of the lady of his devotion, being a rough man with no appreciation
of the code of chivalry or the cult of the Troubadours, was consimied with jealousy of the poet, so
that he cau.sed him to be killed, and his heart served up to his lady at dinner. Whereupon, when
he had taunted her, and made known to her what was the meat that she had eaten, she passed
through the window to one of the towers of the castle and threw herself down to her death.
The story is told also of another one or two of the Troubadours, and is undoubtedly a mere fable
of later invention. The Chatelain de Coucy went on a Crusade to the Holy Land in the company
of the English King, Richard the Lion-Hearted, in 1190, and was killed two years later, in battle
against the Saracens.
' Arras " with Troubadour and Lady
XIII Century
10
No. IV. "IT WAS IN MAY"
Moniot d'Arras.
"It was in May" is a gay, springtime song, by Moniot, a famous Trouvere of the thirteenth
century, in the ancient city of Arras, celebrated for its marvellously l:eautiful tapestries woven
after the designs of the greatest artists. So supreme in this art was it that its name was com-
monly substituted for the common noun and in mediaeval romances a beautiful hanging was
spoken of as an "arras." This picturesque old city was one of those that suffered devastation at
the hands of the Germans in 191 7.
The little song is in itself an "arras": a mille fleur background of the blossoms of May; a
fountain; a jongleur playing his vielle; a cavalier and a charming damsel dancing on the flowery
mead. The song is followed by a dance such as the lovers may have enjoyed on that delightful
day in May. Such dances, written on the theme of a song, are occasionally found on the pages
which have been left blank to cover and protect it in the ancient manuscript. They are invariably
in later notation and musical style. This one was added probably about a century after the
original song was written.
11
kSuiQutic kpiibd Q^obiu to
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Facsimile of Original Manuscript of song "Robin Loves Me," by Adam de la Hale, 1285
12
No. V. "ROBIN LOVES ME"
Adam de la Hale.
Adam de la H^le, also a native of Arras, was not only a Trouvere of renown, but the composer
of the earliest French comedy with music, "Le Jeu de Robin et Marion," which was produced
about 1285 at the Court of the King of Naples. In this opera comiquc he introduced many
songs such as this "Robin Loves Me," some of which were written by himself while others were
adaptations of popular Troubadour songs. The picture with which the song is illuminated in the
manuscript presents the lady riding on her palfrey, a falcon poised on the forefinger of her up-
lifted hand as she sings her coquettish little song.
13
No. VI. "NOW MY LIGHTSOME YOUTH IS GONE"
Clement Alarot.
"Now My Lightsome Youth is Gone" is not a Troubadour song in the strict appUcation of
the word; it does not fall within the period, as it was written at a much later date. But it is in-
serted here as an interesting illustration of the influence of the "verse" of the Troubadours upon
the later lyric poetry of France and upon the music wedded to that poetry\ This little song is
indeed wholly in the vein of those of the Troubadours. The lady of the singer's poetic devotion
was the fair Diana of Poitiers.
Clement Marot, courticr-poet-musician, son of the poet Jean Marot, was, as a boy, page to
Marguerite of Valois, sister of King Francis I of France, and later. Queen of Navarre. In after
years, when he had established himself as a great favorite at Court and a famous poet, he became,
through her influence, profoundly interested in the Bible and the Reformation. He translated
many of the Psalms into French verse, and they were, in the beginning, as highly favored as his
love songs. Everyone at court adopted a Psalm, so that one became known as "the King's
Psalm," another as "the Duke of Valois' Psabn," another as "the Lady Marguerite's Psalm," and
so on. These were sung to popular tunes of the day. But after a time Marot fell into disfavor
because of his adherence to the Reformation, and spent the last years of his life in exile, several
of them with John Calvin at Geneva, where he continued to make metrical, in this case poetical,
versions of the Psalms, which were set to music by Claude Goudimel and Theodore de Beza for
use in the French Church. Marot died suddenly in Turin, in 1544, of poison administered by
his enemies.
14
ALL THOUGHTS WITHIN MY HEART THAT DWELL
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It was ill ^I'iy, AH bios - soms
^
^
^ V
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* — a^
:z::
Poco rtt.
■7)ifa tempo
p.
m
i=p
^M- 'f
^i^
^
^
^
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gay, My thoughts were love - ward wing
tyi.
■f
'Hi f
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J..
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P
ing, In
i
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Copyright 1920 by The H.W.Gray Co.
11
tn
■/t= =—
t
^
^
^^
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fouii - tain spring
iiig. Ill flow - 'ry grove, I met my
O J J
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f f r ^
7//
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V-
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lovej To vi - o
liu en - tranc-ing My la - dy fair With
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f 0
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Ull
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p
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r^
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me did pair, In sweet - est meas - ure danc
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ing.
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rit.
i
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It Was lu May 7
12
DANCE
Allegretto
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g
p
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s
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poco rit.
a tempo
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POINT 2
18
f ^# ^f > .r r r
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POINT 3
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w.
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o tempo
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IS
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14
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15
POINT 4
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16
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It Was lu May 7
ROBIN LOVES ME
V.
17
ADAM DE LA HALE
(c. Ili85l
i
Andantiuo
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Andautiuo
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:22
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PP
^
Ro - bill.
loves me, Loveb but
me-
Ro - bin
hK' \^\
m
t
^
^
7;z
■/
^
#
Be
*
fe*
i
J I II
a
P
r r If
hast - ens now to wed me, If he
#
^
^ may!
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v^'v^ r f'
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^^
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Copyright 1920 by The H.W. Gray Co.
18
^M
^
^
p
^
Ro - bin will buy me silk - en dress - es,
m
i
^
»
is:
■^
r=\.
?
122
^
S
^
^
^
^
Rib - boijs.
gay
to
bind my tress - es,
m
^
^=^
^n^^^
^
p
i
if
sc
t
Y^' r
p
r If r
Cloak of
^M
red and gir - die
i
gold - en,
3
w/'
'/i.i'it- r r
1
^
s
3z:
hubiu Luves Mu it
19
m
p
r u
^ i |J
X — ~ —
^
If
he may!
I
fe
i
IE-
V^b"!.'- f ('
Ro - bill.
J ^ " ^
P
-3Z.
loves me,
i
m
i
*
^
^
Loves but
i
me!
w.
■/
^
Ro - bin
hast - ens
I
S
h" I' j
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# ,/:
■# — - — 0-
tTT
mf
'>-^\> r ['
^
fe
rit.
i
!T / II
^
r ir r ir^
now to
wed me, If he
may !
l/^>r]Jl
^
t=^
rit.
'> b'i> f r r
^
^
Robiu Luves Me 3
20
NOW MY LIGHTSOME YOUTH IS GONE
VI
Allegretto
CLEMENT MAROT
(1495-1544)
i
y
rit.
i
%h J -^7
s
t
^
f
rit.
^^
-i-
f
iis
jt? a^ tetnpo
^
^
' S
Now my li^J^^ some youth is g^i^t;, And
^
^
• d
p a tempo
t
'■>¥m^ '
T
T:n
1
p
?
p
*8
^
pg
r iti^' J' p
^^
all
my
joy in life is sha
ken.
*
\h -T^
f
^
T-J
i
^
Copyright 1920 by The H. W. Gray Co.
21
i
m
It
i
^
My
bright morn - iiig
and my iiuoii, Too
i
u
^
^^
i
^
^
ft
T
m
rr-^
22
p
*#
^
r iit^' ^' P i
p^^
soon, a
lab! Their flight have ta
ken:
i
u
i
f
T^^
I
a=t=f
48
/)iM 7HUSS0
s=s
-^' — ff
^
r p p
Love!
Thy fa - vour
im
8A=^
H
plore! Thee
f
P
^
Sii^
i
^^
r r r p
r I r
»=*:
Nuw Mv LiKhtsOiiiP Volitli Is (ioue ;•!
22
?
u 7neno 7nosso
h 7
^
^
rit.
zzz
la.
have I
serv'd with_ all my_
heart;
A
ineiw mosso
i^J
I
J J-
I
rit.
7
r/-hH f-
¥
^
f
a tempo
A
ll'"\' ,1 ' J
?ss^
Ah! If 1 could be
born once more,.
^y
rail.
^^
r-y
^
Bet - ter would I
play
mv
y
^
/7^
part!
raU.
^HA^
^
c\
E
T=^
Now My Lightsome Youth Is Goue 3
fL